Tightly wound and traditional lawyer and family man Charlie McCready takes a lot of pride in his daughter Wendy (Kathleen Cody) but disapproves of her group of friends collectively known as "the Gang" whom she has known since childhood and especially Wendy's boyfriend Bart (Kurt Russell) because he believes them to have no ambition and are a drag on Wendy. As Charlie tries to wrest Windy from her carefree friends towards more eligible persons, complications arise.
Superdad's origins begin in 1966 when the film was under the working title A Son-in-Law for Charlie McCready. Originally intended for Gig Young in the lead role, Gig dropped from the film due to "creative differences" and was replaced by Bob Crane who had found himself less in demand following the cancellation of Hogan's Heroes. Superdad was yet another entry in the formula comedies that served as Disney's primary output during the 70s and comes to us from writer Joseph L. McEveety who gave us the mediocre Dexter Riley films and the surprisingly decent Barefoot Exectuvie, and is directed by Vincent McEveety who's film The Million Dollar Duck stands as one of the dumbest of this era of Disney comedies. Superdad doesn't feel like a movie and instead feels like three episodes of a not particularly good pre-Rural Purge sitcom daisy chained together and presented to you as a movie.
Like many Disney comedies from around this time, Superdad's approach to culture clash and generation gap humor feel about 10 to 15 years out of date. Much like the Dexter Riley films or Million Dollar Duck, despite a teenage cast they spout hokey dialogue that hasn't evolved much beyond the approach taken from The Absent Minded Professor in 1961. The Scooby-Gang from the original run of Scooby-Doo in 1969 had more believable attempts at character and that was a cartoon with a talking dog, but it also helps that Scooby-Doo didn't treat 60% of its cast as a singular hive-mind character spread across a dozen actors. Bob Crane is massively unlikable as Charlie McCready and while the movie does try to address the generation gap by saying there's no fundamental difference between the teenagers of "today" versus 20 years ago, the movie wants to have its cake and eat it to because despite a message of tolerance and understanding throughout the film the movie also takes potshots at the counterculture movement in what amounts to pretty pandering and toothless commentary.
Superdad is what it is: A bad Disney comedy that feels like a sitcom projected on a bigger screen with no laugh track. There's a reason most people know of this movie from its mention in the heavily fictionalized Bob Crane biopic Auto-Focus or its appearance in the subway scene of the first Charles Bronson Death Wish, because the movie itself is only interesting as a curiosity or background novelty in relation to other more interesting topics. It's not as bad as Million Dollar Duck by virtue of not being as brazenly annoying and stupid, but it's also much lazier.
Superdad's origins begin in 1966 when the film was under the working title A Son-in-Law for Charlie McCready. Originally intended for Gig Young in the lead role, Gig dropped from the film due to "creative differences" and was replaced by Bob Crane who had found himself less in demand following the cancellation of Hogan's Heroes. Superdad was yet another entry in the formula comedies that served as Disney's primary output during the 70s and comes to us from writer Joseph L. McEveety who gave us the mediocre Dexter Riley films and the surprisingly decent Barefoot Exectuvie, and is directed by Vincent McEveety who's film The Million Dollar Duck stands as one of the dumbest of this era of Disney comedies. Superdad doesn't feel like a movie and instead feels like three episodes of a not particularly good pre-Rural Purge sitcom daisy chained together and presented to you as a movie.
Like many Disney comedies from around this time, Superdad's approach to culture clash and generation gap humor feel about 10 to 15 years out of date. Much like the Dexter Riley films or Million Dollar Duck, despite a teenage cast they spout hokey dialogue that hasn't evolved much beyond the approach taken from The Absent Minded Professor in 1961. The Scooby-Gang from the original run of Scooby-Doo in 1969 had more believable attempts at character and that was a cartoon with a talking dog, but it also helps that Scooby-Doo didn't treat 60% of its cast as a singular hive-mind character spread across a dozen actors. Bob Crane is massively unlikable as Charlie McCready and while the movie does try to address the generation gap by saying there's no fundamental difference between the teenagers of "today" versus 20 years ago, the movie wants to have its cake and eat it to because despite a message of tolerance and understanding throughout the film the movie also takes potshots at the counterculture movement in what amounts to pretty pandering and toothless commentary.
Superdad is what it is: A bad Disney comedy that feels like a sitcom projected on a bigger screen with no laugh track. There's a reason most people know of this movie from its mention in the heavily fictionalized Bob Crane biopic Auto-Focus or its appearance in the subway scene of the first Charles Bronson Death Wish, because the movie itself is only interesting as a curiosity or background novelty in relation to other more interesting topics. It's not as bad as Million Dollar Duck by virtue of not being as brazenly annoying and stupid, but it's also much lazier.